Untitled (10:37:12) was made in 2014 by Jesse Stecklow, from a wall-mounted clock and three cylindrical air sampling devices; the hands of the clock are paused, obstructed from their usual ticking by the samplers. Untitled (4:16:52), also made in 2014, is a similar work, although the clockface is behind frosted glass, and further encased in a metal guard. After the works are exhibited, the air samplers are sent to a laboratory; the results of the lab analysis are used to inform future works, and new iterations of existing works.

The hanging photograph by Constantin Thun appears to be a dark monochrome at first; it is an image of Cabin,, a large wooden structure exhibited at Sweetwater in 2020, taken in Thun’s apartment, lit only by moonlight. Five panels from the walls of Cabin, lean against the gallery’s wall, beneath the undated, untitled photograph. There is also a repurposed light fixture, installed in the gallery’s back corridor, always on.

Kayode Ojo’s chandelier sculpture was first exhibited in New York in 2018; in 2022, the original plastic glasses have been replaced with glass champagne coupes. His video work He’s Younger Than You, only a few seconds long, contains a brief scene from the 2004 film Alfie starring Jude Law, itself a remake of a 1966 film of the same name; it plays once every 10 minutes.

Lise Soskolne’s paintings, Characters and Today, are from 1999 and 2000, respectively. Characters is one of three paintings made in 1999 of film stills; it is based on the ending credits of the 1964 film Nothing but a Man by Michael Roemer. Today reproduces lines from an English-language translation of intertitles from Shagai, Soviet! by Dziga Vertov, a 1926 silent film from Anthology Film Archives’s Essential Cinema collection. Hard-copy translation materials are produced for all foreign language films included in the collection, which has been screening at Anthology Film Archives in New York on rotation in alphabetical order for more than 45 years.

The title of this exhibition is taken from another of Lise Soskolne’s three film still works from 1999, one that has since been destroyed. The painting was predominantly red, flat and featureless, with overlapping lines of text across the bottom stylized in italics: the English subtitles from Lucino Visconti’s Ossessione, a 1943 feature film based on James M. Cain’s novel The Postman Always Rings Twice. In full, it read:

I can’t believe I’m here...
When I think of all the days I spent alone...
...alone with you at last
...behind this counter crying
I wish it could last forever
Before I met you the world seemed like such a big place...
...now there is only this shop